Friday, February 16, 2018

Cinematic documentaries give
people a voice otherwise not heard, as Peter O’Rourke once said – but there is
more. It is the tradition of poetic cinema to allow not just an argument to
develop but to invite the audience as citizens, on eye level and as eye
witnesses, to form their own opinion about an event, fate, topic. The
traditional documentary approach which is cinematic standard primed by Vertov
and Ivens, still used by international awarded filmmakers as Guzman or Mettler,
enables the audience to familiarise themselves with a situation. As the audience
we are allowed to get to know the people involved and their individual stories,
as well as the complexity of the
interaction of personal destinies and a historical situation or
period. This is the quality of that aesthetic tradition which is flexible
enough to be adapted for particular stories, such as the one told here. And,
this form allows to unfold the particular in the general.

From my point of view,
living in a time of populistic media, fake news and neo-liberal opinion making,
a film such as Franco on Trail creates a good counterweight to latent
and indoctrinated media productions.

In Franco on Trialthe
filmmakers are introducing us to a dark and not much known period of European
history which influenced many parts of the world. And, it gives an idea of
hidden processes involved in contemporary politics in Spain and behind.

Together with the central
figures of the judge and lawyers from Argentinia, we – the audience – get to
know facts and memories which are told, and actions connected to the
investigation are shown and explained. Thus, we can experience the dimension
for individuals as well for society. Post and Palacios are introducing us to
the complex work involved in such a trial, and the importance for so many
survivors and relatives of the victims as well as for the families of the
perpetrators.

The exceptional
quality of the film results from both sides getting a voice - those against
whom the killing has been directed; and the side of the perpetrators. By
enfolding the dimensions of the time and events of the Franco dictatorship
slowly but steadily the pure horror of what happened there becomes more and
more apparent. The judges and anthropologist involved allow us to get a bigger
picture, to reflect on the events, motivation and importance of the trial –
although after such a long time. It is important to get to know about the crime
committed against democratic thinking people, about a calculated genocide
against republicans, Jews and women who wanted to live on their own rights.

By deciding for the
aesthetics of a poetic documentary the filmmakers
are gently introducing us into the story. No emotionally heated up comments
require us to provide an immediate response here. The filmmakers look the
protagonists in the face, giving them space - and so us. We can relate to them,
understand their pain or their desire to provide enlightenment. This cinematic
method achieves long lasting emotional and intellectual response, thus initiating
a discussion about the film and its topic.

Thus,
the film is about the events there and then but at the same time it is a
metaphor for genocides happening again and again all over the world.

I wish
the film, the filmmaker and in particular the protagonists, all people involved
in this production a broad audience and vibrant discussion.

about play loud!

play loud! is a Berlin-based film production company and film and music label, founded in 1997 in New York by filmmakers Dietmar Post and Lucía Palacios. Since 2002 the office is based in former East-Berlin (Germany).
Go to links for more info.